ARTIST PROFILE

Hungary (b. 1982 in Szombathely)

Currently in Oakland, United States.

My works are mindmaps of different levels of consciousness, comparing the collective subconscious with the very personal stories and memories of a person - examining archetypes, structures, network systems and the tiny miracles of nature.

CONTACT & LINKS

ARTIST STATEMENT

{ Life is Circus }

◇

Once I was told that I create Operas of
the Everydays.

jó ebédhez szól a nóta

◇

I’m
working on a virtual Plattenbau of Poor Homes, VR shelters that may be the Safe
Space for our grandchildren. Weaving together my free-flow drawings, the Long
Distance Somersault practice (LDS) and my treasures (#memorycollector), I aim
to build protectors responding to the ambiguity of the accelerated merge of
digital and analogue. How do we distinguish between the layers of reality,
human consciousness and other forms of intelligence in the fickle realms of
identities, traditions and the attachments of materiality?

Tame
fear and re-shape power by delicacy.

Naïve
to the bone.

◇

Regarding the article of Hito Steyerl: In Defense of the Poor Image [1] and
my personal experience of constant migration, I’m wondering about the human
conditions when traveling and communication is faster than ever, yet we have
no time to learn basic survival skills; generations are separated so new kind
of communities emerge and fall apart with the speed of internet memes.
How do we activate our
seeds and what do we grow from this transnational, global liquidity? What are
the boundaries of entropy and quality?

What does HOME mean and when does it
become an institution?

Poor Homes have no Hats.

WE are the hats - the Garbage and the
Treasure.

◇

SAFEISSCARY [2]

I’m questioning the efficiency [3] of my art, yet understanding more about the era of beginnings of AI makes me
respect the values of unexpected patterns even more; I embrace futile, nonsense
activities and the freedom of the realms of in-between, being lost, slippage.
The importance of artists could be now as crucial as a midwife at birth.

◇

A rolling moss gathers no stones

◇

I inhabit self-created careers to amplify
the nature of constant change.

Professionalism and seriousness oftentimes
lead to rigid, selfish ego plays.

These occupations are the binding agents
for exploring different materials (childhood drawing tools, VR video,
performance etc.), styles and topics; for example being a mind
cartographer, a tear factory worker, a poop fortune-teller and so.

◇

As of now, I’m interested in the roles of
the Cleaning Lady and the Good Grandmother – sharing unconditional love without
the attachments of maternity.

◇

{cycles ◇
endless loop}

Long Distance Somersault (LDS) career
maintains my flexibility to roll further and reflects on my social and spatial
encounters.

{Fast Forward Speranza [4]}

Being sponsored allows me to examine the
effects of monetary involvement and validates my suspicion that everything is
possible.

LDS helps me to find balance, meditate on
the hamster wheel of life and to gaze into the Eye of the Hurricane. In a group
practice, social connections and relations can be exercised through this
different awareness.

PRESS

WALKING INTO THE new art exhibit centered around augmented reality and virtual reality storytelling, I couldn't quite wrap my head around the alternate dimensions that had been built.

The exhibit, Festival of the Impossible, is showing at Minnesota Street Project galleries in San Francisco, California, through this weekend. The show features new works by artists breaking boundaries in these relatively new digital mediums.

Learning that the artists were given these VR and AR platforms to stage their concepts made me believe the creations were meant to show off the hardware and software innovations, and to demonstrate the potential of the new tech. After experiencing each artists' work, however, I realized the creations were not just technology demos, but that they gave the artists a chance to express their own ingenuity with technology in a way that's never been this easy, nor this real.

Step Inside

Each artist in the exhibit gets their own open space where the audience can wander into their imagination. Some artists told stories on iPads using augmented reality, with the screen showing the view through the camera transformed, in one case, to show the room on fire or drenched in rain.

In another artist's space, I pointed the iPad's camera at small, 3-D printed beds. The view in AR showed Sims-like figures sleeping with their realistic dreams playing out above them. Some dreamed of giant spiders; others, the nightmare of a computer that won't stop buffering.

Some of the artists made their work more personal. Judit Navratil used AR to revisit her childhood home through a video that incorporated her deepest memories, including talks with her grandmother. With just about every installation, it would have been easy (and fascinating) to spend way too much time exploring every detail.

New World, New Tools

Every time a new technological medium comes along, the art world asks: How can we use this for storytelling? The art world will adapt to these new mediums, but someone has to test the waters first.

That's where Adobe comes in. Just this week, Adobe, in partnership with Apple and Pixar, launched the augmented reality authoring tool Project Aero. This new piece of multi-platform software is intended to let designers and developers create AR experiences in a simple, standardized environment. Project Aero integrates with tools with which creators are already familiar, such as Adobe Photoshop CC and the 3-D design tool Adobe Dimension CC. Project Aero aims to give people of different backgrounds and disciplines the freedoms to bring others into their worlds through AR, telling stories and presenting ideas in a fresh way.

Adobe is a sponsor of Festival of the Impossible, and the event coincides with the launch of the new software and with Apple's Worldwide Developer Conference, which happened this week in San Jose, California.